기타살롱의 리브라님의 글 퍼왔습니다..
..................................................................
델캄프 포럼에 재미있는 글이 있어서 가져왔습니다.
가계도도 있네요.^^
In an earlier thread the question of a “Granada School” of builders was raised, leading to heated discussion regarding whether the term holds realistically meaningful validity. Now that passions have subsided, and without wishing to take a side in the matter, I’d like to share my understanding of the term strictly as evidenced by a chronological overview of the historical record. Perhaps this background information will help others elucidate their positions.
Evidently the first coinage of the term “Granada School” in English may be attributed to a translation of words by Eusebio Rioja, who published the book Inventario de Guitarreros Granadinos, (1875-1975) in 1976. George Clinton and John Roberts (Editor and History Columnist of the English magazine “Guitar”, respectively), visited Granada in 1976 and Roberts, as a result, published an article entitled “The Guitar in Granada” in the February, 1977 issue (pages 9-11). Roberts quotes from it extensively (in his own translation) in his article, and specifically quotes Rioja’s phrase in the introduction, "la escuela guitarrera granadina", as “the Granada School of makers”. Roberts then goes on to cover Rioja’s list of Granada makers.
Ivor Mairants, the English jazz guitarist and classical enthusiast turned guitar dealer (who was importing and selling guitars by Antonio Marín Montero, Manuel Bellido, and Antonio Raya Pardo among others already), covered six “Guitarreros of Granada” in his 1980 book My Fifty Fretting Years (pages 356-357) without using the term, however.
Rioja published a second edition of his book, this one entitled Inventario de Guitarreros Granadinos, (1875-1983), in conjunction with the 11th Congresso Nacional de Actividades Flamencas in Granada in 1983. Mairants was in attendance, met Rioja, and returned to England to publish the two-part article “Granada: City of Guitar Makers” in the March/April and May/June issues of “Classical Guitar” magazine (pages 71-74 and 59-60, respectively). Like Roberts’ article seven years earlier, Mairants covers Rioja’s now extended list of Granada luthiers. While not using the term “Granada School”, Mairants opts instead to use “pupils of the House of Ferrer”, “the school of Ferrer”, and “the Ferrer school”.
The aforementioned George Clinton returned to Granada in 1988 for a week’s visit, thereafter writing a series of twelve articles entitled “Escuela Granadina de Luthiers” (The Granada School of Luthiers) in “Guitar International” magazine from September 1988 through 1989. Not merely parroting Rioja’s term, Clinton instead was referring to an actual organization called the Escuela. In his words, “The Escuela was formed in 1987—in truth to bureaucratize an already close association—and comprises twelve makers” (namely, Antonio Marín Montero, José Lopez Bellido, Juan Miguel Carmona, Rafael Moreno, Germán Pérez Barranco, Antonio Raya Pardo, José Marín Plazuelo, Manuel Diaz, Bernd Martin, René Baarslag, and Jonathan Hinves). In addition to his introductory article, essays in future issues were each devoted to one of the makers (save Manuel Diaz, who was unavailable). Each essay bore the main title, “Escuela Granadina de Luthiers”.
Clinton was the first to define the Escuela vis-à-vis the Madrid (i.e. Ramirez) “School” of builders. He states, “As a school, the present makers share several characteristics…”. He then goes on to list:
1. smaller plantilla
2. built up from the top
3. Spruce tops
4. Top domed on solera
5. Torres type strutting (usually 7)
6. Peones instead of continuous lining
7. 650mm scale length
8. Mosaic rosette construction technique
9. French polish finish
A year later, in 1990, Lisa Hurlong (aka “Lisa de Granada”) published her article on select Granada makers, after having purchased an Antonio Marín Montero while on a concert trip to Granada in 1979, and having reacquainted herself with Granada in 1984. The article, “Guitarra Granada Ole” appeared in the summer, 1990, issue of “Soundboard” magazine (pages 14-21), and covered Antonio Marín Montero, José Marín Plazuelo, René Baarslag, José Lopez Bellido, Jonathan Hinves, and Bernd Martin. (Later, in the winter, 1992, issue of “American Lutherie”, she covered Antonio Raya Pardo in a separate article). Nowhere in her writings, however, does Lisa de Granada use the term “Granada School”.
John Huber’s book, The Development of the Modern Guitar (Bold Strummer, 1991, and second edition, 1994), is careful to use the term “Granada School” in double quotes, as does Kenny Hill in his 2001 essay, “Visit to Legendary Granada” on his website.
In summary, then, it would appear that “Granada School” as a term in English has its origin in print in a translation of the 1976 writings of Eusebio Rioja. An actual Granada School was formalized in 1987, and George Clinton wrote extensively about it and its makers in English from 1988-1989. (Perhaps one of our Granada contributors might enlighten us as to the fate of the Escuela as an organized body of luthiers).
Aside from the formal organization which utilized the name, “Granada School” has, it seems, come to be associated with virtually any builder in Granada whose guitars exhibit most of the characteristics that Clinton enumerated in his 1988 article. In addition, it would seem that, as Mairants insinuated, luthiers of the “Granada School” can trace their lineage of teachers back to the House of Ferrer. Unlike the “Madrid School”, where few lineages spanned more than two generations save for the House of Ramirez, in Granada we find fathers teaching sons (e.g. Manuel and Jesus Bellido, Antonio Durán and Eduardo Durán Ferrer, Antonio Raya Pardo and Antonio Raya Ferrer, and Bernd and Lucas Martin), uncles teaching nephews (e.g. Benito and Eduardo Ferrer, Antonio Marín Montero and both Paco Santiago Marín and José Marín Plazuelo), brothers teaching brothers (e.g. Manuel and José Lopez Bellido), brothers-in-law teaching brothers-in-law (e.g. José Lopez Bellido and Antonio Raya Pardo), husbands teaching wives (e.g. René Baarslag and Ana Espinosa Rodriguez), etc. Hence familiarity is literally key, with the exception of expatriates, of course. Even then, for example, Antonio Marín Montero has referred to René Baarslag as being “like a son to me”.
Cheers,
David Gansz
P.S. The renowned historian, author, luthier, and guitar dealer Richard Brune, having read the above, has contacted me and graciously shared the following information: Brook Zern, author of a regularly appearing column on the Spanish tradition of lutherie in the publication "Flamenco Information Service Library Newsletter" in 1968, having finished a multi-part series on the Madrid school, indicated that his next month's installment would be on the "Granada school". So Richard, without having actually surveyed his vast archival collection of literature on the subject for verification, believes this to be the first appearance of the term in English. Interestingly, Richard notes that, in the actual article (No. 8, Vol 1, page 3...December, 1968), Zern states, "Granada has its own group of constructors (I'd hesitate to call it a School)". I am very grateful to Richard, an acknowledged expert in these matters, for freely sharing this information with us.
번호 | 제목 | 글쓴이 | 날짜 | 조회 수 |
---|---|---|---|---|
433 | 난 이런 기타가 조아 | 기타리스트 리 | 2001.01.28 | 4641 |
432 | 제가요 기타를 배우는 데요... | 기타리스트 리 | 2001.01.28 | 3878 |
431 | 웅수엉아 봐주십시요 | 이영남 | 2001.01.27 | 3966 |
430 | 수엔명노창님 | 이영남 | 2001.01.27 | 4580 |
429 | 왼손가락 중지가 문제라면... | 수 | 2001.01.27 | 4065 |
428 | 국산 수제기타... 2 | 으랏차차 | 2001.01.27 | 6492 |
427 | ☞ 전문 제작가인 웅수엉아에게 상의해보세요... | 명노창 | 2001.01.27 | 3941 |
426 | 왼손가락 장애 입니다 | 이영남 | 2001.01.27 | 4103 |
425 | Romanillos 로제트사진 | 일랴나 | 2001.01.27 | 4074 |
424 | ☞ Jeffrey Elliott 헤드부분 | 일랴나 | 2001.01.27 | 3933 |
423 | Jeffrey Elliott 하나더 | 일랴나 | 2001.01.27 | 4341 |
422 | Jeffrey Elliot 로제트 | 일랴나 | 2001.01.27 | 4012 |
421 | 기타1,2번줄 음정 다운 현상 | 최종일 | 2001.01.26 | 4497 |
420 | 쩝....기타를 새로 살려구요...-_- | 고정욱 | 2001.01.25 | 4431 |
419 | 기타사고 싶어요 | 구경본 | 2001.01.20 | 3897 |
418 | ☞ 사진 한장 | 고정석 | 2001.01.17 | 3844 |
417 | 앞판에 붙은 부챗살의 갯수는 몇개가 이상적일까여? | 형서기 | 2001.01.15 | 4843 |
416 | ☞ 바이올린에는 사운드포스트라는 게 있다던데..... | 이재화 | 2001.01.14 | 4685 |
415 | ☞ 기타제작에 관심있는 분들 | 이재화 | 2001.01.14 | 4010 |
414 | Rodgers head machine | 기타마니아 | 2001.01.14 | 5599 |
413 | Khono | 기타마니아 | 2001.01.14 | 4493 |
412 | Yuichi imai | 기타마니아 | 2001.01.14 | 4809 |
411 | 제가 갖고 싶은 기타 | 기타마니아 | 2001.01.13 | 4646 |
410 | Gilbert 로젯 | 기타마니아 | 2001.01.13 | 4041 |
409 | 기타제작에 관심있는 분들 2 | gaspar | 2001.01.11 | 4780 |
408 | 바이올린에는 사운드포스트라는 게 있다던데..... | 스기 | 2001.01.10 | 4477 |
407 | 그리고요.... | 수 | 2001.01.08 | 4504 |
406 | 자살했읍니다. | 아논 | 2001.01.08 | 4473 |
405 | 지판의 재질도 음색에 영향을 주나요? | 스기 | 2001.01.08 | 4658 |
404 | edgar monch | 수 | 2001.01.07 | 5081 |
403 | 사이몬 마티 | 기타마니아 | 2001.01.07 | 5336 |
402 | 묀히를 아시나요? | 스기 | 2001.01.07 | 3944 |
401 | 내가 가지고 싶은 기타..이런 기타가 있나여? | 형서기 | 2001.01.02 | 3945 |
400 | 정말 감사합니다 | 일랴나 | 2000.12.29 | 3844 |
399 | 제프리 엘리엇- 하나 더 | gaspar | 2000.12.29 | 4596 |
398 | 제프리 엘리엇-로제트: 이정도면 되나요 일랴냐님 | gaspar | 2000.12.29 | 4174 |
397 | 뒷판사진 | 일랴나 | 2000.12.28 | 3977 |
396 | 로제트사진 | 일랴나 | 2000.12.28 | 4117 |
395 | 앞판사진 | 일랴나 | 2000.12.28 | 4061 |
394 | 내가 갖고 싶은 기타(4) - Greg Smallman | 일랴나 | 2000.12.28 | 5267 |
393 | 뒷판사진 | 일랴나 | 2000.12.28 | 4608 |
392 | 로제트사진 | 일랴나 | 2000.12.28 | 4081 |
391 | 앞판사진 | 일랴나 | 2000.12.28 | 3877 |
390 | 내가 갖고 싶은 기타(3) - Daniel Friederich | 일랴나 | 2000.12.28 | 6228 |
389 | 로제트사진 | 일랴나 | 2000.12.28 | 3892 |
388 | 뒷판사진 | 일랴나 | 2000.12.28 | 3853 |
387 | 내가 갖고 싶은 기타(2) - Dammann-Cedar | 일랴나 | 2000.12.28 | 5869 |
386 | 앞판사진 | 일랴나 | 2000.12.28 | 3889 |
385 | 라벨사진 | 일랴나 | 2000.12.28 | 4426 |
384 | 뒷판사진 | 일랴나 | 2000.12.28 | 4579 |
383 | 앞판 사진 | 일랴나 | 2000.12.28 | 3981 |
382 | 내가 갖고 싶은 기타(1) - Dammann-Spruce | 일랴나 | 2000.12.28 | 4875 |
381 | Boaz- Steel Guitar | gaspar | 2000.12.28 | 4081 |
380 | Boaz-네크 1 | gaspar | 2000.12.28 | 4016 |
379 | Boaz Elkayam_Recording Guitar | gaspar | 2000.12.28 | 3884 |
378 | Beltran의 프로젝트 | gaspar | 2000.12.28 | 3998 |
377 | Thomas Beltran | gaspar | 2000.12.28 | 5280 |
376 | ☞ ☞ 네크가 휘는경우는요....... | 망상 | 2000.12.28 | 4008 |
375 | 제발 제프리 엘리어트 기타 좀 보여줘요? | illiana | 2000.12.28 | 3824 |
374 | ☞ ☞ ☞ 역시 연주가는 악기만드는거 50%는 따돈거야.. | 형서기 | 2000.12.28 | 3759 |
373 | ☞ ☞ 역시 연주가는 악기만드는거 50%는 따돈거야.. | 명노창 | 2000.12.27 | 4129 |
372 | 12구멍의 브릿지 | gaspar | 2000.12.27 | 4591 |
371 | 아래는 잘못..10현기타 아랫부분 | gaspar | 2000.12.27 | 4213 |
370 | 쿠쿠렐리8현 | gaspar | 2000.12.27 | 4089 |
369 | 쿠쿠렐리 11현 | gaspar | 2000.12.27 | 4283 |
368 | 쿠쿠렐리 기타 | gaspar | 2000.12.27 | 4097 |
367 | ☞ 로제트 사진입니다 | 일랴나 | 2000.12.27 | 4794 |
366 | 파리콩쿨입상자인 Sergio Abreu가 만든 기타 | 일랴나 | 2000.12.27 | 5375 |
365 | ☞ 네크가 휘는경우는요....... | 수 | 2000.12.27 | 3986 |
364 | 네크가 휘는경우는요? | 망상 | 2000.12.27 | 3898 |
363 | ☞ 위에 기타 뒷사진. | 명노창 | 2000.12.25 | 5245 |
362 | 웅수엉아...과연 우리나라에서 기타를 처음제작하신분은 누구일까요? | 명노창 | 2000.12.25 | 5701 |
361 | 손이 기준이죠.... | 수 | 2000.12.20 | 3811 |
360 | 수님! 어린이용 기타의 기준은? | 泳瑞父 | 2000.12.20 | 3824 |
359 | ☞ 겨울철에 습도유지하는 방법.... | 명노창 | 2000.12.19 | 4284 |
358 | ##이렇게 한 번 해보세요^^... | 박성운 | 2000.12.16 | 5167 |
357 | ☞ 겨울철에 습도유지하는 방법2.... | 수 | 2000.12.12 | 4159 |
356 | 겨울철에 습도유지하는 방법.... | 명노창 | 2000.12.12 | 4139 |
355 | 이마이딜러가 그만뒀다고 그러네요.... | 수 | 2000.12.11 | 3841 |
354 | 이마이.. 관둔게 아니래요.. | 오모씨 | 2000.12.11 | 3895 |
353 | 사이몬마티를 아시나요? | 왕초보 | 2000.12.06 | 4015 |
352 | 베르나베 아자씨.... 음.. 할아버진가?? | 변소반장 | 2000.12.05 | 3910 |
351 | 베르나베 기타가 어쩌고 저쩌고... 흠냐뤼.. 무식해서.. | 변소반장 | 2000.12.05 | 5168 |
350 | 바이올린에 관한책. | 고정석 | 2000.12.04 | 5371 |
349 | ☞ ☞ 더하기 위치... | 화음 | 2000.12.03 | 3854 |
348 | ☞ 기타학원아시는 분 꼭 글좀 남겨주세요! | 기타마니아 | 2000.12.02 | 3816 |
347 | 기타학원아시는 분 꼭 글좀 남겨주세요! | 소정이 | 2000.12.02 | 3758 |
346 | 기타제작에 관한 책.1 | 수 | 2000.11.29 | 5602 |
345 | ☞ 이마이 | 기타마니아 | 2000.11.28 | 3861 |
344 | ☞ 앗...그래였나? | ("@") | 2000.11.27 | 3869 |
343 | ☞ 기타의 앞판이 이러면 어떨까..??? 수님이 답좀 | 노 은 님 | 2000.11.25 | 5028 |
342 | 신현수님 홈페이지가 궁금하신분들.. | 변소반장 | 2000.11.24 | 5638 |
341 | 키틴제 도료에 대해... | 지우압바 | 2000.11.24 | 5203 |
340 | ☞ 비올라 다 감바를 연주하면 되~~~지!! | 오모씨 | 2000.11.21 | 4543 |
339 | 기타의 앞판이 이러면 어떨까..??? | 변소반장 | 2000.11.20 | 5163 |
338 | ☞ 사진 몇개 | 기타마니아 | 2000.11.19 | 4295 |
337 | ☞ ☞ ☞ ☞ 기타 제작자 이야기(3) | 기타마니아 | 2000.11.19 | 4227 |
336 | ☞ ☞ ☞ 기타 제작자 이야기(3) | 안진수 | 2000.11.19 | 4132 |
335 | ☞ ☞ ☞ 기타 제작자 이야기(3) | 기타마니아 | 2000.11.19 | 4288 |
334 | ☞ ☞ 기타 제작자 이야기(3) | 기타마니아 | 2000.11.19 | 3854 |
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